Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Afghanistan and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Toronto.
I'm losing my edge to the art-school Hong Kong kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Wire practice in a loft in Watford.
I was working on the clarinet sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Walker Brothers to the rap kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Audionom. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every The Misunderstood record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
Cymande,
Andrew Hill,
The Cosmic Jokers,
Lower 48,
World's Most,
Alton Ellis,
E-Dancer,
Marshall Jefferson,
Metal Thangz,
Laurel Aitken,
Qualms,
Barclay James Harvest,
Lyres,
B.T. Express,
Skriet,
Bill Near,
Soul II Soul,
Bootsy's Rubber Band,
The Residents,
Tubeway Army,
The Men They Couldn't Hang,
Eli Mardock,
Sex Pistols,
The Associates,
The Martian,
Fugazi,
Gian Franco Pienzio,
Flash Fearless,
Q65,
Nick Fraelich,
Red Lorry Yellow Lorry,
James White and The Blacks,
David Bowie,
New Age Steppers,
Sight & Sound,
Ornette Coleman,
Moby Grape,
The Smoke,
Bang On A Can,
Mission of Burma,
Underground Resistance,
Supertramp,
Lalo Schifrin,
Sam Rivers,
Eyeless In Gaza,
Eden Ahbez,
The American Breed,
the Slits,
Severed Heads,
Roxette,
The Cure,
Fluxion,
Intrusion,
Unrelated Segments,
Japan,
X-102,
Dennis Brown,
Piero Umiliani,
Harpers Bizarre,
Janne Schatter,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.